Posts Tagged ‘harvey fierstein’

Glittery, Campy “La Cage” Entertains in Style at the Muny

Posted in Snoop's Soapbox, St Louis Theatre, tagged , , , , , , , , on August 10, 2025| Leave a Comment »

La Cage aux Folles
Book by Harvey Fierstein, Music and Lyrics by Jerry Herman
Based on the Play by Jean Poiret
Directed by Marcia Milgrom Dodge
Choreographed by Richard J. Hinds
The Muny
August 9, 2025

Michael James Scott, Norm Lewis
Photo by MaryKatherine Patteson
The Muny

The Muny is currently revisiting a show it hasn’t staged in almost 40 years. La Cage aux Folles has been staged and revived many times around the world since its Broadway debut in 1983, and its catchy Jerry Herman score features well-known songs such as “I Am What I Am” and “The Best of Times”. It’s so catchy, in fact, that the songs have been playing in my head on repeat since I saw the Muny’s sparkling, dazzling production in Forest Park last night. Featuring a top-notch cast of Broadway and Muny veterans, this is a show that entertains in flashy, campy style, while also communicating heartfelt themes of family, individuality, and belonging.

The show, based on a popular French play that has been the inspiration for several films (including 1996’s The Birdcage), is set in St. Tropez, France, in a nightclub known for its popular drag shows. The shows are emceed by Georges (Norm Lewis), who lives in an apartment above the club with his longtime partner Albin (Michael James Scott), also known as “Zaza”, the club’s headlining star, who is backed by a memorable chorus of dancers and performers known as “Les Cagelles” (Julia Feeley, Cory Hammond, Kodiak Thompson, Michael Milkanin, Aaron Graham, Gordon Semeatu, Cooper Stanton, Michael Di Leo, Duncan B. Smith, Owen Kent Ing, Kaylee Olson, Kyle White). The two have also raised Georges’s son Jean-Michel (Mason Reeves), who has recently arrived after a time away with surprising news. He’s getting married, and not only that, but his fiancée, Anne (Cameron Anika Hill) is the daughter of an ultra-conservative politician. Also, her parents, the Dindons (Terence Archie, Allison Blackwell) are coming to visit so they can meet Jean-Michel’s parents, but there’s a catch that throws the whole family dynamic out of balance and hurts Albin deeply, although this is a comedy, so I don’t think it’s a spoiler to say that things get better, and there’s also a lot of glitter, colorful costumes, and fantastically campy nightclub routines to the tune of those super-catchy Jerry Herman melodies. 

This production looks a little different than I had been expecting, since I usually associate this show with lots of pink and gold and glitter. Here, the glitter is there, but the palate is much more colorful. There is a fair amount of pink, especially in the restaurant run by Georges and Albin’s bubbly friend Jacqueline (Meghan Murphy), but there’s also a lot of blues, greens, purples, and more. The costumes, designed by Bobby Pearce are simply spectacular, outfitting Zaza and La Cagelles in a series of eye-catching outfits, and with the rest of the characters outfitted in suitable style. There’s also memorable work from wig designer Tommy Kurzman. The set by Matthew Buttrey is also colorful, dazzling, and versatile, adding to the atmosphere in the nightclub scenes and the outdoor scenes in the sunny French Riviera. There’s also marvelous lighting by Jason Lyons, and excellent video design by Kylee Loera and Greg Emetaz. The Muny Orchestra, led by music director Darryl Archibald, brings lush energy to the classic score, as well. 

As for the cast, they shine as bright as the set, if not more. Lewis is charming as Georges, and in great voice on numbers like “Song On the Sand” and “Look Over There”. His chemistry with Scott’s equally marvelous Albin is excellent, as well. Scott makes the most of every moment as Albin/Zaza, from the campier moments to the more emotional scenes like the stellar, show-stopping “I Am What I Am”. These two are the heart of the show, but they are surrounded by a memorable cast of characters, led by Reeves as the earnest, if misguided (at first) Jean-Michel, who has strong chemistry with Hill’s likable (but underwritten) Anne. Archie and Blackwell are suitably stuffy as the Dindons, with Blackwell showing an underlying desire to break free of her husband’s restrictions, and displaying a marvelous operatic soprano in moments when she gets to sing. There’s also a scene-stealing turn from Troy Iwata as Georges and Albin’s butler/maid Jacob, who desperately wants to be in the show at the club. There are also memorable turns from Murphy as the vivacious Jacqueline, Michael Hartung as the club’s stage manager, Francis, and Milkanin as the forceful Hanna, one of the more prominent Cagelles who is in a relationship with Francis. The rest of the cast, including Les Cagelles and an energetic Teen Ensemble, add to the energy and spark of this fun production.

Ultimately, La Cage aux Folles is a lot of fun. It’s been a long time since it’s appeared on the vast Muny stage, and it fits well. With style, heart, energy, and that timeless classic score, this is another memorable hit for the Muny’s 2025 season. 

Norm Lewis (Center) and Cast
Photo by BreAnna Kay Creative
The Muny

The Muny is presenting La Cage aux Folles in Forest Park until August 14, 2025

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Energetic “Newsies” Take the Stage by Storm at STAGES

Posted in St Louis Theatre, tagged , , , , , , , , , on August 2, 2024| Leave a Comment »

Disney’s Newsies
Music by Alan Menken, Lyrics by Jack Feldman, Book by Harvey Fierstein
Directed by Steve Bebout
Choreographed by Lindsay Joy Lancaster
STAGES St. Louis
August 1, 2024

Daniel Marconi (center) and Cast
Photo by Phillip Hamer
STAGES St. Louis

STAGES St. Louis is continuing its 2024 season with a vibrant, energetic production of a popular modern musical inspired by a real historical event. Disney’s Newsies began as a movie in 1992, but the stage version that opened on Broadway in 2012 has become a big international hit, and this is the fourth production of the show I have seen. At STAGES, the familiar characters, music, and high-energy dancing are all here, but slightly scaled down for the smaller space, and it works especially well, bringing new attention to aspects of the story and characters, and presenting the story in an approachable and thoroughly entertaining manner. 

The now-familiar story is highly fictionalized from actual events, though it is based on an actual strike of newspaper carriers in New York City in 1899. Here, the hero is Jack Kelly (Daniel Marconi), an orphan and “newsie” who escaped from “the Refuge”, a  rough and abusive home for “troubled” youth.  He tells his friend Crutchie (Matthew Cox) about his dreams of moving out west, but before that can happen, the two and their fellow paper carriers find themselves in the midst of a conflict with Joseph Pulitzer (Christopher Gurr), who suddenly raises the price that the newsies pay for the papers they deliver, making it hard for them to earn enough money to live on. New Newsie Davey (Richard Spitaletta) and his kid brother Les (Davin Wade) help inject some energy into the group as the idea for a strike is brought up, and Davey becomes the “brains” of the operation while Jack is the charismatic “face”. Meanwhile, the newsies’ cause is boosted by aspiring young reporter Katherine (Taylor Quick), who hopes to become a more serious journalist and not be stuck in the “girl reporter” role of writing for the Society page. Jack and Katherine develop an attraction, but Katherine has a secret she’s not sharing that could threaten their relationship. As the newsies fight the establishment, led by Pulitzer and his allies, they are aided by local entertainer Medda Larkin (Anita Michelle Jackson), for whom the talented artist Jack paints backdrops and who lets the newsies use her theatre for a union rally. As the conflict heats up and the tensions rise, the newsies band together for their cause and there’s a lot of energetic singing, athletic dancing, and a persistent quest for hope against difficult odds. 

This show usually features a large cast, and the group here at STAGES is enough to fill their smaller stage, but noticeably not as numerous as other casts I’ve seen. Still, what they lack in numbers, they make up for in sheer enthusiasm, presence, and energy. Marconi is excellent as the charismatic dreamer Jack, who has to fight his own sense of inadequacy and embrace his potential and his found family. Marconi’s got a strong voice and plenty of charisma, and he works well with the also excellent Cox as the mistreated but hopeful Crutchie and Spitaletta as the clever, enterprising Davey. He also has strong chemistry with Quick’s gutsy, strong-voiced Katherine.  The rest of the newsies are also strong, with impressive dance skills for some truly thrilling production numbers featuring Lindsay Joy Lancaster’s spirited choreography. There are also memorable performances from young Wade as the plucky, outspoken Les, Jackson as the sympathetic, kind Medda, John Flack as the creepy Snyder, who runs the Refuge; and especially Gurr ,who manages to provide some depth and ferocity to the role of Pulitzer, who can often come across as something of a cardboard villain. 

The production looks great, as well, with a dynamic set by Anne Beyersdorfer that features many moving pieces including scaffolding, beams, pillars and rails reflecting the late 19th Century city vibe, backed by Saki Kawamura’s memorable projections. There are also colorful, detailed costumes by Brad Musgrove that fit the characters and atmosphere well. There’s also vibrant lighting by Sean M. Savoie and sound design by Mike Tracey that works well for the most part, despite some mixing issues in the first part of Act One that can make the singing harder to hear.

This staging of Disney’s Newsies is a lot of fun! It’s the same story you might already know, but scaled to its space with thoughtful staging a a great deal of energy. It’s a story that can resonate with several generations. STAGES is continuing its season with style, talent, and infectious enthusiasm. 

Cast of Disney’s Newsies
Photo by Phillip Hamer
STAGES St. Louis

STAGES St. Louis is presenting Disney’s Newsies at the Kirkwood Performing Arts Center until August 25, 2024

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“Funny Girl” Tour Showcases Its Star, Despite Uneven Script

Posted in St Louis Theatre, USA Theatre, tagged , , , , , , , , , , on January 25, 2024| Leave a Comment »

Funny Girl
Music by Jule Styne, Lyrics by Bob Merrill
Book by Isobel Lennart, Revised Book by Harvey Fierstein
Directed by Michael Mayer
Choreographed by Ellenore Scott
The Fox Theatre
January 23, 2024

Katerina McCrimmon, Izaiah Monteque Harris
Photo by Matthew Murphy for MurphyMade
Funny Girl North American Tour

The recent Broadway revival of Funny Girl was certainly not without controversy. Even though this show has always been sort of overshadowed by the reputation of its original star, Barbra Streisand, the revival had its own casting drama that went beyond Streisand comparisons. While the show has closed on Broadway, the tour is going strong, and even though the show itself is hardly worthy of decades of hype, it’s still a fun vehicle for the right performer. And in this tour, in terms of sheer talent and energy, Katerina McCrimmon makes a strong case for being the “Greatest Star” that this show needs.

The story, as anyone who is familiar with the show knows, is a highly embellished rags-to-riches story following famous comic performer Fanny Brice (McCrimmon), who starts out as an unknown from Henry Street and eventually becomes the toast of the famed Ziegfeld Follies, eventually appearing in radio, film, and TV, as well. The story follows her humble beginnings trying to break in to show business, meeting dancer Eddie Ryan (Izaiah Monteque Harris), who helps her get her first job, where she is eventually noticed by ambitious businessman and gambler Nick Arnstein (Stephen Mark Lukas), who charms his way into her life and eventually marries her. The show is at its strongest when showcasing Fanny’s talents–from her first big solo “I’m The Greatest Star” to well-known hits “People” and “Don’t Rain on My Parade” to her final torch-song “The Music That Makes Me Dance”, along with her glitzy, choreographed Follies numbers. Her relationships with Eddie and her mother (Barbara Tirell) are also memorable, as are her early moments with Nick, although in the second act the romantic drama becomes something of a slog. Also, the scenes with Mrs. Brice and her poker pals Mrs. Strakosh (Eileen T’Kaye) and Mrs. Meeker (Hannah Shankman) can distract unnecessarily from the main story. Still, this show is it its best when it centers on Fanny herself, and even though the first act is better than the second–until the memorable finale–for the most part it’s an entertaining, well-cast show. 

One of the odd phenomena surrounding this show, though, is that now, Brice herself isn’t as well-known as the performer who originated the role in the first Broadway production of this play, as well as the movie, and whenever anyone hears the name “Fanny Brice” or Funny Girl, the first name that comes to mind is usually Streisand’s. The audience members sitting behind me at the Fox are testament to this, as they wondered who else could live up to that illustrious reputation. Well, I’m pleased to say that McCrimmon does about as excellent a job as I can imagine, and the audience appeared to agree with me, giving her thunderous applause after her big numbers and an enthusiastic ovation at the end. McCrimmon is great with the comedy and the drama, and her powerful voice does justice to the score. She doesn’t copy Streisand, although there are a few moments in “People” especially in which she evokes memories of the legendary singer. Still, this show is about Fanny Brice, not Barbra Streisand, and that is reflected well in the strong direction. There are also standout performances by Harris–a tap-dancing marvel–as Eddie, and Tirrell as the feisty, supportive Mrs. Brice. Lukas also brings a good deal of charm and charisma, as well as a great voice, to the role of Nick, even though I still find it difficult to sympathize with his character. There’s also a strong, enthusiastic ensemble, especially in the Ziegfeld numbers, and energetic choreography by Ellenore Scott.

The show looks good, as well, for the most part, except for a few awkward set pieces in the Henry Street scene. Still, the set by David Zinn, costumes by Susan Hilferty, and lighting by Kevin Adams bring out a credibly authentic mood reflecting the early 20th Century time period and “Old Broadway” setting. The sound is a bit low in parts, and especially early in the show, the songs can be difficult to understand, although this does improve noticeably as the show goes on. The orchestra, led by music director Elaine Davidson, does a great job with the classic Jule Styne score, as well.

So, as I’d say with any production of Funny Girl, if you’re looking for Barbra Streisand, you won’t find her here. Still, if you’re looking for a funny, talented, big-voiced talent that can light up a stage, you will certainly find her in this production on tour at the Fox. It’s not a perfect show, but the star is excellent, supported by a great cast, and this show makes for an entertaining evening of musical theatre. 

Stephen Mark Lukas, Izaiah Monteque Harris, Katerina McCrimmon
Photo by Matthew Murphy for MurphyMade
Funny Girl North American Tour

 

The North American tour of Funny Girl is running at the Fox Theatre until February 4, 2024

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Fun, Glittery “Kinky Boots” Dances Onto the Muny Stage With Style

Posted in St Louis Theatre, tagged , , , , , , , , on June 20, 2019| Leave a Comment »

Kinky Boots
Book by Harvey Fierstein, Music and Lyrics by Cyndi Lauper
Original Broadway Direction and Choreography by Jerry Mitchell
Direction Re-Created by DB Bonds
Choreography Re-Created by Rusty Mowery
The Muny
June 19, 2019

Cast of Kinky Boots
Photo: The Muny

The Muny’s 101st season continues this week with the regional premiere of the Tony-winning musical Kinky Boots. With a score by pop legend Cyndi Lauper and a book by celebrated playwright/actor Harvey Fierstein, this is a bold, energetic and fun show, with a lot of style and heart. And the Muny has brought a great cast and dazzling production values to the stage, to boot.

The story, based on a 2005 British film that was inspired by a true story, tells of a surprising friendship and an unusual business venture. When Charlie Price (Graham Scott Fleming) inherits his family’s shoe factory upon the death of his father, he feels inadequate to live up to his father’s standards and run the failing factory, until he meets drag queen Lola (J. Harrison Ghee), who also has a backstory and a complicated relationship with paternal expectations. The two go into business, with Charlie as manufacturer and Lola as designer, but there are still complications as the two prepare to showcase the new “kinky boots” at a prestigious fashion show in Milan. For Charlie, he has to deal with a legacy of perfectionism as well as his ambitious fiancee, Nicola (Caroline Bowman), who wants him to give up the factory and move to London with her. There’s also Lauren (Taylor Louderman), a factory employee who grows closer to Charlie as they work together. For Lola’s part, there’s the memory of a strict, unaccepting father as well as factory worker Don (Paul Whitty) who continually gives Lola a hard time. It’s a fun show with a catchy score, featuring some poignant ballads like “Not My Father’s Son”  as well as some energetic production numbers such as “Sex Is In the Heel”, “Everybody Say Yeah”, and the uplifting, spirited finale “Raise You Up/Just Be”.

The production here is essentially a re-creation of the Broadway production, with original direction and choreography re-created, and with some key leading roles played by performers who have played the roles before. The cast is excellent, with Ghee as Lola especially strong, both vocally and in sheer presence. Ghee works well with the also excellent Fleming, who puts in a sensitive performance as the conflicted Charlie. Louderman also turns in a winning performance as Lauren, even though the character isn’t given a lot to do at times, but still, Louderman excels especially belting out Lauren’s solo “The History of Wrong Guys” and has good chemistry with Fleming’s Charlie. Other standouts include Whitty as the belligerent Don, and John Scherer in a fun comic turn as Charlie’s assistant at the factory, George. Also worthy of special mention the “Angels” (Callan Bergmann, Ian Fitzgerald, Valton Jackson, Jacob Lacopo, Michael Olaribigbe, Kyle Post, Ricky Schroeder, and Joey Taranto), who back up Lola in her nightclub act, and who exhibit a delightfully flashy, enthusiastic style.

The production values here are simply stunning, utilizing the newly renovated Muny stage with utmost flair. Michael Schweikardt’s set is colorful and versatile, complemented well by Shawn Duan’s video design. The costumes by Gregg Barnes are especially dazzling, suiting the characters from factory workers to drag queens with stylish detail. There’s also excellent lighting by Nathan W. Scheuer and a great Muny Orchestra and music direction by Ryan Fielding Garrett.

Kinky Boots is, above all, a show with energy and heart. It portrays a growing friendship with poignancy and charm, as well as dealing with father/son relationships, romance, acceptance of differences, and more. It’s an upbeat and highly entertaining production from the Muny, and another remarkable success for a so-far stellar 101st season.

Cast of Kinky Boots
Photo: The Muny

The Muny is presenting Kinky Boots in Forest Park until June 25, 2019

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New Line’s “La Cage aux Folles” Dazzles with Heart, Energy, Memorable Performances

Posted in St Louis Theatre, tagged , , , , , , , , , on March 22, 2019| Leave a Comment »

La Cage aux Folles
Book by Harvey Fierstein, Music and Lyrics by Jerry Herman
Directed by Scott Miller and Mike Dowdy-Windsor
Choreographed by Michelle Sauer and Sarah Rae Womack
New Line Theatre
March 16, 2019

Zachary Allen Farmer, Robert Doyle
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre has staged another remarkable production with their rendition of the modern classic musical La Cage aux Folles. As often happens at New Line, this production distills the essence of the show and brings out its human drama, emphasizing character and relationships, along with the excellent singing that I’ve come to expect from this company. In addition, it’s also sparkly and dazzling, with a strong ensemble and a truly stunning performance from one of New Line’s most recognizable players.

This production is also my introduction to this show, in terms of seeing it live. I’d heard the score many times, and seen clips of televised performances of some of the songs, but I’d never seen a production of the show before until now. I did know the story, though. It focuses on performers in a drag show at a nightclub in Saint-Tropez, France. Georges (Robert Doyle) is the MC of the show, and his longtime partner Albin (Zachary Allen Farmer) is the star of the show, performing as “Zaza” and backed by Les Cagelles (Jake Blonstein, Dominic Dowdy-Windsor, Evan Fornachon, Tim Kaniecki, Clayton Humburg, and Ian McCreary). Offstage, Georges and Albin live in an apartment over the club, and are attended by the enthusiastic butler/maid Jacob (Tiélere Cheatem), who is also an aspiring drag performer who wants to be in the show. Georges has a son, Jean-Michel (Kevin Corpuz), whom Georges and Albin have raised together. Now, Jean-Michel has returned with announcement–he’s engaged, and his fiancée, Anne (Zora Vredeveld) is the daughter of a prominent ultra-conservative political candidate, and he’s invited her parents (Kent Coffel and Mara Bollini) to meet his parents, but with a twist that leads to much examination of relationships, identity, and the sense of belonging for Albin, Georges, Jean-Michel and eventually most of the cast. This version is based on the most recent London and Broadway revivals, with a smaller cast than the original Broadway production, but with the catchy, memorable Jerry Herman score intact, as well as Harvey Fierstein’s insightful book and the memorable lead characters.

Casting-wise, this production shines, and particularly as a showcase for one of New Line’s most prolific performers. Thinking of all the shows I’ve seen at New Line since the first one I saw (Next to Normal) in 2013, it’s easier for me to count the shows Zachary Allen Farmer hasn’t performed in than the ones in which he has appeared. Still, seeing him here as Albin/Zaza is something of a revelation. Farmer is always excellent, but he’s especially so here, bringing out a depth and richness to both his acting and his always remarkable vocals on songs like the title number and especially the fiery “I Am What I Am” and the catchy “The Best of Times”.  Also, as with the best of performers, he brings a sheer level of stage presence that not only lights up the stage, but energizes everyone around him. A particular beneficiary of this energizing is Doyle as Georges, who starts off slowly but gets better and better as the show goes along, especially in his scenes with Farmer. The two have a strong, believable chemistry that lends poignancy to their characters’ relationship as a couple, exemplified in Georges’s ballad “Song of the Sand” and its duet reprise. Also standing out is Cheatem is a delightfully scene-stealing performance as the stylishly determined Jacob. There’s also strong support from Lindsey Jones as Georges and Albin’s friend, the vivacious restaurateur Jacqueline, and by Corpuz, who gives a strong performance as Jean-Michel, who also has convincing chemistry with Vredeveld as the sweet but little-seen Anne. Coffel and Bollini are also memorable in dual roles as two very different couples–the supportive, friendly Renauds and the more severe Dindons. There’s also excellent support from Joel Hackbarth as the club’s stage manager Francis and memorable, energetic singing and dancing from les Cagelles.

Visually, this show is striking, with a bold, flashy and very pink set by Rob Lippert, who also designed the excellent lighting. Sarah Porter deserves special mention for her spectacular costumes, from the sparkling Cagelles outfits to Jacob’s memorable attire, to Albin/Zaza’s array of eye-ctaching ensembles, many of which have a mid-80s vibe. There’s also an excellent New Line Band conducted by Music Director and pianist Nicolas Valdez, and vibrant choreography by Michelle Sauer and Sara Rae Womack, performed with flair by the cast.

This is a show I’d heard a lot about, and I knew some of the songs well, but I hadn’t seen it on stage until New Line brought it to the stage with its usual insightful, inventive style. This is a fun show with a lot of flash, but it’s also a very human show, with poignancy and wit and charm. It’s another winning production from New Line.

Cast of La Cage Aux Folles
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is presenting La Cage au Folles at the Marcelle Theatre until March 23, 2019

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Energetic “Newsies” Is An Ideal Show for the Muny

Posted in St Louis Theatre, tagged , , , , , , , on August 11, 2017| 1 Comment »

Newsies, the Musical
Music by Alan Menken, Lyrics by Jack Feldman, Book by Harvey Fierstein
Directed and Choreographed by Chris Bailey
The Muny
August 7, 2017

Cast of Newsies
Photo: The Muny

Thinking of shows that seem like they are made for the Muny, I think Newsies would be a prime example. The big, energetic Disney musical is ideally suited for a large outdoor stage like the Muny’s, and there’s a lot of room for the youth ensembles as well. As the closing show for the Muny’s 99th season, Newsies proves to be an excellent fit for the venue, as well as a rousing, well-cast and immensely entertaining production.

The show, based on the Disney film, tells a fictionalized version of a true story–a strike by newsboys in New York City in 1899. Here, the focus is on a group of “newsies” who deliver papers for the New York World newspaper, led by Jack Kelly (Jay Armstrong Johnson), a teenage orphan with artistic talents and dreams of moving west. When World publisher Joseph Pulitzer (Davis Gaines) decides to raise the prices that the newsies pay for the papers they sell, Jack finds himself the leader of an impromptu union, along with his friend Crutchie (Daniel Quadrino), his new friends Davey (Spencer Davis Milford) and Davey’s little brother Les (Gabriel Cytron), and the rest of the neighborhood’s newsies, with hopes of rallying support from those from other papers and throughout the city. The movement is covered by ambitious reporter Katherine Plumber (Tessa Grady), who harbors a secret and finds herself attracted to Jack. As the movement grows, Pulitzer, the show’s obvious villain, grows agitated, and the newsies enlist the help of local entertainer Medda Larkin (Ta’rea Campbell), for whom Jack occasionally works painting backdrops for her theatre. The newsies’ strike becomes front page news, but Pulitzer’s efforts to stop it threaten to run Jack out of town and make conditions even worse for the newsies.

I’ve seen this show before, twice, on tour, first in Chicago and then here in St. Louis. I enjoyed both of those productions, but I think this production works even better not only because of its excellent cast, but because of the unique staging opportunities the Muny affords. The Muny Kids and Teens, for instance, are ideally suited for a show like this, to fill out the cast in a way that doesn’t seem manufactured or forced in the least. The direction and choreography by Chris Bailey is in a similar vein to the touring show, but the big Muny stage lends a great advantage for this show full of energetic leaping, spinning, and tapping.  Michael Schweikardt’s set also works well, with movable set pieces in the steel-beam platform style of the tour, but allowing for more flexibility of movement for the production and its large cast. There’s also excellent lighting by John Lasiter, striking video design by Nathan W. Scheuer, and colorful period costumes by Leon Dobkowski to help complete the overall look and atmosphere of the production.

The cast here is simply superb.  Johnson, with his strong voice and amiable stage presence, makes an ideal Jack Kelly. His scenes with his fellow newsies and with Grady’s terrific, spunky Katherine are highlights of this production. There’s also great work from Milford as Davey, young Cytron as Les, Campbell as Medda, and all of the newsies as well. I’ve always thought Pulitzer has been written as something of a cartoon villain in this show, but Gaines does an excellent job with the role as it’s presented. There’s a first-rate ensemble as well, including the Muny’s Youth Ensemble, helping to populate the Muny stage and contribute the energetic, tuneful production numbers.

Newsies is a fun show, with a big, enthusiastic cast. And at the Muny, it’s bigger, bolder, and better than ever. It’s been a great season at the Muny, and this show closes it out with style.

Cast of Newsies
Photo: The Muny

The Muny is presenting Newsies in Forest Park until August 13, 2017.

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Entertaining “Newsies” Tour Carries Its Banner to the Fox

Posted in St Louis Theatre, USA Theatre, tagged , , , , , , , on January 23, 2016| Leave a Comment »

Newsies
Music by Alan Menken, Lyrics by Jack Feldman, Book by Harvey Fierstein
Directed by Jeff Calhoun
Choreographed by Christopher Gatelli
The Fox Theatre
January 19, 2016

Joey Barreiro (center) and Cast Photo by Deen van Meer Newsies North American Tour

Joey Barreiro (center) and Cast
Photo by Deen van Meer
Newsies North American Tour

Newsies is a big, bold, energetic musical based on a cult-classic Disney movie of the same name. It’s on the second leg of its North American tour now, and it’s finally making a stop in St. Louis.  I saw the tour in Chicago in late 2014 and enjoyed it. This year, the cast is mostly new but it’s the same entertaining show.

Newsies is Disney’s retelling of the 1899 newsboys’ strike in New York, given the family-show treatment and lots of energy and optimism. It follows a group of “Newsies” led by the enterprising orphan Jack Kelly (Joey Barreiro), along with his friends Crutchie (Zachary Sayle) and “new kids”, brothers Davey (Stephen Michael Langton)–who becomes essentially Jack’s deputy–and feisty 10-year-old Les (John Michael Pitera, alternating with Ethan Steiner). Upset when New York World newspaper publisher Joseph Pulitzer (Steve Blanchard) raises the prices that the newsies have to pay for their papers, Jack gathers his buddies to launch a strike against the paper, and eventually other New York papers as well. Into the midst of this situation comes Katherine (Morgan Keene), a young woman reporter who writes about the strike and is attracted to Jack, who likes her back even though there’s one important fact about her that he doesn’t know.

This is a fun show, plain and simple. It’s not particularly deep or reflective, but there’s some good music and some especially extraordinary dancing, choreographed by Christopher Gatelli. It’s the kind of high energy, athletic, jumping and tapping and leaping and cartwheeling kind of dancing that gives this show its real spark. In fact, I would say that the real stars of this edition of the tour are the newsies themselves. With their considerable dance skills, charm, and ensemble chemistry, these guys carry the show in enemble numbers like “Carrying the Banner”, “Seize the Day”, and “King of New York”. The rest of the cast is fine, with the standouts being Sayle as the amiable Crutchie, Langton as the earnest Davey, and Pitera as his spunky little brother Les. Aisha De Haas is also excellent as the newsies’ main adult ally, singer Medda Larkin. Blanchard, who along with Sayle has been with the tour from the beginning, is good in this portrayal of Pulitzer as somewhat of a cartoonish villain. Barreiro is fine as Jack, displaying a lot of energy, although he’s not quite convincing as a teenager, and his chemistry with Keene’s more lackluster Katherine is not particularly convincing. Still, this is a show that’s sure to entertain especially because of that top-notch ensemble.

The set, designed by Tobin Ernst, is still spectacular, with its movable beams and grids, and wonderful use of projections, originally designed by Sven Ortel and adapted by Daniel Brodie. The costumes, by Jess Goldstein, are colorful and period appropriate, and they suit the characters well. For once, the sound, designed by Ken Travis–works well at the Fox, too. I’ve noticed sound problems in several touring shows that have played here, but Newsies does well, and every word of dialogue and the lyrics of every song are clearly audible. The show presents something of a stylized version of late 19th-Century New York, in keeping with the upbeat, more family-focused theme, but it’s a well-realized vision that contributes to the vibrancy of the production.

Newsies at the Fox might not be quite as stellar as it was in Chicago, but it’s still lots of fun. Ultimately, a show like this is about telling its story and doing so in an entertaining fashion. Newsies does that, with a delightful ensemble and a memorable score. I’m glad St. Louis audiences now have the chance to see it.

Cast of Newsies Photo by Deen Van Meer Newsies North American Tour

Cast of Newsies
Photo by Deen Van Meer
Newsies North American Tour

The North American tour of Newsies runs at the Fox Theatre until January 31, 2016.

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Extra! Extra! “Newsies” On Tour In Chicago Is Worth the Trip

Posted in USA Theatre, tagged , , , , , , , , , , on December 15, 2014| 1 Comment »

Newsies
Music by Alan Menken, Lyrics by Jack Feldman, Book by Harvey Fierstein
Directed by Jeff Calhoun
Choreographed by Christopher Gatelli
Oriental Theatre, Chicago
December 12, 2014

Stephanie Styles, Dan DeLuca Photo by Deen Van Meer Newsies the Musical

Stephanie Styles, Dan DeLuca
Photo by Deen Van Meer
Newsies the Musical

Over the weekend, I took a road trip to Chicago to see the US National Tour of Disney’s Newsies. Based on the film of the same name that flopped at the box office but then developed a sizable cult following,  the stage show ran for two years on Broadway and has now embarked on an ambitious tour that is unfortunately not scheduled to play in St. Louis in the near future. The good news is that it’s going to be running in Chicago for almost a month, so there’s plenty of time for St. Louisans to make the journey to see this upbeat, wonderfully cast and impressively produced show.

I approached this production as something of a Newsies newbie. I’ve never seen the film and had only heard a few songs and seen a few performance clips from the stage show.  I knew the basic plot, but that’s about all, although I’ve found that this tour is an excellent introduction to the show. The story, loosely based on an actual event, follows a group of newsboys working for the New York World newspaper in 1899.  Most of the boys are orphans, like the charismatic, artistically talented Jack Kelly (Dan DeLuca), his friend Crutchie (Zachary Sayle) and others. Even those who aren’t orphans are poor, relying on their income from selling papers to support themselves and their families, like rookie “newsie” Davey (Jacob Kemp) and his younger brother, Les (Vincent Crocilla alternating with Anthony Rosenthal). When the paper’s owner, Joseph Pulitzer (Steve Blanchard) raises the price of the papers, it affects the newsies because they have to pay for the papers they sell, and having to pay more up front means they will earn less. With Jack as the leader and Davey as the “brains”, the newsies form a union and begin a strike, but not without major complications and clashes with the authorites.  Meanwhile, a young reporter, Katherine (Stephanie Styles), who seeks to advance her career and help the newsies by writing about their cause, finds herself attracted to Jack, although a secret she’s keeping from him threatens their burgeoning relationship.

This is a very Disney spin on the story, with the emphasis on the energy and drive of the youthful characters, who are much more well-rounded than most of the adults, with the exception of burlesque entertainer Medda Larkin (Angela Grovey), for whom Jack paints backdrops, and who allows the newsies to use her theatre for rallies. Pulitzer is something of a mustache-twirling villain for most of the show, although that’s a minor quibble considering the real focus here is on the teenagers and their quest for better working conditions not just for themselves, but for other young workers throughout the city.  There are a few most-likely deliberate echoes in the staging of another show that features a group of idealistic young men rebelling against authority, Les Miserables, only this one is a lot more upbeat.  Even though this is a show for all ages, its primary audience seems to be teenagers, who are likely to be inspired by the determination and drive of this group of likable tough guys trying to make a difference, discovering their own strengths and talents in the process.

The producers have assembled a top-notch cast for this tour, led by the dynamic DeLuca, who will best be remembered by St. Louis audiences as Lucas in The Addams Family at the Muny in July.  DeLuca brings considerable charm, strong dance skills and a powerful singing voice to the role of the sensitive but guarded young Jack. He’s a more than capable leader for this group of loveable misfits, bringing emotion to numbers like “Santa Fe” and gutsy zeal to energetic group numbers like “Seize the Day” and “Once and For All”.  His scenes with the equally charming Sayle as Crutchie and Kemp as Davey are strong points of this production, and he displays great chemistry with Styles as the plucky Katherine.  Styles and Kemp, for their parts, are also standout performers, with Styles bringing a great blend of sympathy and excellent comic timing to her solo number “Watch What Happens”, and Kemp showing a lot of heart as the initially mild-mannered and somewhat nervous Davey, who gains confidence as the story develops.  There are also memorable performances from Grovey as Medda, whose big voice gets a great showcase on “That’s Rich”, and Crocilla as the enthusiastic youngest newsie, Les.  Blanchard also turns in a fine performance as the self-centered, villainous Pulitzer. As for the rest of the newsies, there are too many to mention them all by name, although they form a cohesive and eminently likable ensemble with a great deal of heart, strong voices and athletic dancing on songs like “Carrying the Banner”, “Seize the Day” and the showstopping tap-dance number “King of New York”.  This is an ensemble filled with youth and boundless, infectious energy, making for a very fun show.

Visually, this show is simply a wonder, with some of the most impressive sets I’ve seen, especially for a touring production. Designed by Tobin Ernst, the set is constructed of several multi-level units that fit together in various ways as the plot demands. Surrounded by ladders and metal piping, these units effectively evoke the network of fire escapes that are such a ubiquitous feature of the New York City landscape. The units can also be arranged together in a kind of grid, emphasizing the athleticism of the staging as the cast climbs up and down all those stairs with seemingly endless verve.  The use of projections, originally designed by Sven Ortel and adapted for the tour by Daniel Brodie, is particularly ingenious as Jack draws and we see what he’s drawing, or Katherine types and we see the result immediately over her head.  The overall color scheme in blues, grays and browns and reds is reflected in the set and in Jess Goldstein’s period-specific costumes and Jeff Croiter’s striking lighting design.  From these top-notch technical elements to Christopher Gattelli’s dizzyingly dynamic choreography with all its jumping, leaping, kicking and spinning, this show is a treat for the eyes and ears.

Disney’s Newsies on tour is a memorable high-quality show that is well worth a trip to Chicago to see.  It’s a shame it’s not coming to St. Louis anytime soon, but if you’re planning a holiday trip to the Windy City, why not “seize the day” and see this show? You don’t have to just “read all about it” when you can see it. Chicago is only a few hours away, and this show is well worth the trip.

Cast of Newsies Photo by Deen Van Meer Newsies the Musical

Cast of Newsies
Photo by Deen Van Meer
Newsies the Musical

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